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 Contents in Brief

PART 1 The Audience 2

1 The Audience: Its Role and Imagination 7
2 The Background and Expectations of the Audience 27
3 Theatre Spaces: The Audience Views the Stage 45
PART 2 The Performers and the Director 66
4 Acting 71
5 The Director and the Producer 95

PART 3 Setting the Stage: The Playwright and the Play 120
6 Creating the World of the Play 125
7 Dramatic Structure and Dramatic Characters 143
8 Theatrical Genres 169

PART 4 The Designers 194

9 Scenery 199
10 Stage Costumes 221
11 Lighting and Sound 241

PART 5 The Theatre Today 262

12 Musical Theatre 267
13 Global Theatre Today 285
14 Contemporary Theatre in the United States 309
Plays that may be Read Online 335
Glossary 338
Notes 346
Index 347

vii
This page intentionally left blank
 Contents

PART 1
The Audience 2
Chapter 1 The Audience: Its Role and Imagination 7
The Contrast between Theatre and Film 9
Theatre Is Transitory and Immediate 10
Human Beings—The Focus of Theatre 10
The Chemistry of the Performer-Audience Contact 11
Theatre as a Group Experience 11
Psychology of Groups 11
How Audience Composition Aff ects the Theatre Experience 12
The Separate Roles of Performers and Spectators 14
How Should the Audience Be Involved? 14
Audience Participation through Direct Action 15
The Imagination of the Audience 16
Tools of the Imagination: Symbol and Metaphor 17
The “Reality” of the Imagination 20
The Imaginary Worlds of Theatre 20
Realism and Nonrealism 20
Distinguishing Stage Reality from Fact 22
Summary 24

Chapter 2 The Background and Expectations

of the Audience 27
Background of Individual Spectators 28
Background Information on the Play or Playwright 28
Background of the Period 29
Theatre and Society 30
Greek Theatre and Culture 30
Elizabethan Theatre and Culture 31
Modern Theatre and Culture 32
Expectations: The Variety of Experiences in Modern Theatre 34
Broadway and Touring Theatre 34
Resident Professional Theatre 34

ix
 Alternative Theatre: Off -Broadway and Elsewhere 35
Young People’s and Children’s Theatre 36
College and University Theatre 36
Community and Amateur Theatre 37
The Critic, the Reviewer, and the Blogger 37
The Critic/Reviewer 37
Preparation for Criticism 38
Fact and Opinion in Criticism 38
Critical Criteria 40
The Dramaturg or Literary Manager 41
The Audience’s Relation to Criticism 41
The Audience’s Independent Judgment 41
Summary 42

Chapter 3 Theatre Spaces: The Audience Views

the Stage 45
Creating the Environment 45
Theatre Spaces 46
Proscenium or Picture-Frame Stage: History and Characteristics 47
Arena Stage: History and Characteristics 49
Thrust Stage: History and Characteristics 52
Created and Found Spaces 57
All-Purpose Theatre Spaces: The Black Box 63
Special Requirements of Theatre Environments 64
Summary 65

PART 2
The Performers and the Director 66
Chapter 4 Acting 71
Acting in Everyday Life 71
Social Roles 71
Personal Roles 72
Acting in Life versus Acting on Stage 72
Three Challenges of Acting 73
Making Characters Believable 73
Physical Acting: Voice and Body 80
The Actor’s Instrument: Voice and Body 81
Training for Special Forms of Theatre 85
Synthesis and Integration 86
Judging Performances 89
Summary 92

x Contents
Chapter 5 The Director and the Producer 95
The Theatre Director 95
The Traditional Director 96
The Director and the Script 96
The Director and the Dramaturg 101
The Auteur Director and the Postmodern Director 103
The Auteur Director 103
The Postmodern Director 104
The Director and the Production: The Physical Production 105
The Director’s Work with the Performers 106
Casting 106
Rehearsals 106
The Director as the Audience’s Eye 107
Movement, Pace, and Rhythm 108
Technical Rehearsal 109
Dress Rehearsal 109
Previews 110
The Director’s Power and Responsibility 111
The Audience’s View 112
The Producer or Managing Director 113
The Commercial Producer 113
Noncommercial Theatres 115
Completing the Picture: Playwright, Director, and Producer 117
Summary 117

PART 3
The Playwright and the Play 120
Chapter 6 Creating the World of the Play 125
The Subject and Verb of Drama: People and Action 126
Structural Conventions: The Rules of the Game 127
Limited Space 128
Limited Time 129
Strongly Opposed Forces 129
A Balance of Forces 130
Incentive and Motivation 131
Creating Structure 132
Plot versus Story 132
The Opening Scene 132
Obstacles and Complications 133
Crisis and Climax 133
Point of View 134
The Dramatist’s Point of View 136
Society’s Point of View 137
Summary 140

Contents xi
Chapter 7 Dramatic Structure and
Dramatic Characters 143
Dramatic Structure 143
Characteristics of Climactic Structure 143
Characteristics of Episodic Structure 145
Combinations of Climactic and Episodic Form 150
Rituals as Dramatic Structure 151
Patterns as Dramatic Structure 152
Serial Structure 152
Structure in Experimental and Avant-Garde Theatre 152
Structure in Musical Theatre 154
Dramatic Characters 155
Extraordinary Characters 155
Representative or Quintessential Characters 158
Stock Characters 160
Minor Characters 162
A Narrator or Chorus 162
Nonhuman Characters 163
The Audience and Character Types 164
Juxtaposition of Characters 164
Orchestration of Characters 165
Summary 166

Chapter 8 Theatrical Genres 169

Types of Drama 169
Tragedy 170
Traditional Tragedy 170
Modern Tragedy 172
Heroic Drama 173
Bourgeois or Domestic Drama 176
Melodrama 177
Comedy 178
Characteristics of Comedy 179
Techniques of Comedy 179
Forms of Comedy 181
Tragicomedy 186
What Is Tragicomedy? 186
Modern Tragicomedy 186
Theatre of the Absurd 188
Absurdist Plots: Illogicality 189
Absurdist Language: Nonsense and Non Sequitur 190
Absurdist Characters: Existential Beings 190
Summary 191

xii Contents
PART 4
The Designers 194
Chapter 9 Scenery 199
The Audience’s View 199
The Scene Designer 200
A Brief History of Stage Design 201
Scenic Design Today 201
The Scene Designer’s Objectives 202
Elements of Scene Design 208
The Process of Scene Design: Steps in the Design Process 214
The Scene Designer’s Collaborators and the Production Process 216
Designing a Total Environment 218
Summary 219

Chapter 10 Stage Costumes 221

Costumes for the Stage 221
Objectives of Costume Design 222
The Process of Costume Design 222
The Costume Designer at Work 228
Related Elements of Costume Design 231
Makeup 231
Hairstyles and Wigs 234
Masks 234
Millenary, Accessories, and Crafts 238
Coordination of the Whole 238
Summary 239

Chapter 11 Lighting and Sound 241

Stage Lighting 241
A Brief History of Stage Lighting 241
Objectives and Functions of Lighting Design 243
The Lighting Designer 248
Sound in the Theatre 254
Sound Reproduction: Advantages and Disadvantages 254
The Sound Designer 256
Understanding Sound Reproduction and Sound Reinforcement 256
Sound Technology 258
Special Effects in Lighting and Sound 259
Summary 260

Contents xiii
PART 5
The Theatre Today 262
Chapter 12 Musical Theatre 267
The Appeal of Music and Dance 267
Opera 268
Types of Musical Theatre 269
The American Musical 271
Antecedents 271
The 1920s and 1930s: Musical Comedies 271
The 1920s and 1930s: Advances in Musicals 272
Musical Theatre of the 1940s and 1950s 274
Musicals from the 1960s through the 1980s 275
Musicals from 1990 to the Present 278
Summary 282

Chapter 13 Global Theatre Today 285

Theatres in India, China, and Japan in the Modern Period 287
Theatres in the Middle East 291
African Theatres and Drama 293
Russia and Eastern Europe 296
Western Europe, Britain, and Ireland 297
Latin American Theatres 303
Canada and Australia Since World War II 305
Summary 307

xiv Contents
Chapter 14 Contemporary Theatre in the United States 309
Nontraditional, Alternative Theatre 312
Happenings, Multimedia, and Environmental Theatre 313
Postmodernism 315
American Theatre Today: Traditional and Nontraditional 316
Theatre of Diversity 316
African American Theatre 317
Asian American Theatre 320
Latino-Latina Theatre 322
Native American Theatre 323
Feminist Theatre and Women Playwrights 325
Gay and Lesbian Theatre 328
Political Theatre 330
Performance Art 331
Today’s Theatre: Global, Eclectic, Diverse 332
Summary 334
Plays that may be Read Online 335
Glossary 338
Notes 346
Index 347

Contents xv
Preface

ACTIVE AUDIENCE PARTICIPANTS, ACTIVE CLASS

PARTICIPANTS
The Theatre Experience prepares students to be well-informed, well-prepared theatre audience
members. With an audience-centered narrative that engages today’s students, a vivid photo
program that brings concepts to life, and features that teach and encourage a variety of skill sets
students master core concepts and learn to think critically about theatre and the world around
them. As a result, students are better prepared for class, and better prepared for theatergoing.

Engage with Your Role

• True to its original vision—to focus on the audience’s experience of attending a
live theatre performance—the 13th edition of The Theatre Experience opens with
three chapters that focus on the student as an audience member. Topics
include: the difference between being at a live performance and watching a dra-
matic performance on film, TV, or an electronic device; the enhancement of the
experience aided by the proper preparation and background; and the awareness of
the role of the audience in live theatre.

xvi
 • Dynamics of Drama features illustrate some of the more challenging theatre con-
cepts in a way that is easier for beginning students to understand and apply as
audience members. For example, topics include realism and nonrealism (Chapter 1),
and climactic and episodic forms (Chapter 7).
• NEW Play Links, a feature in The Theatre Experience, 13th edition, allows you to
read many of the plays mentioned in the text online. Any play referenced in the
text that can be found online is highlighted in blue typeface when first mentioned
in a chapter. Should you want to read one of these plays, you can refer to the list
that precedes the Glossary at the end of the book and find its URL. Titles are listed
alphabetically.
The plays can be used to highlight key concepts and to complement the discussions
found in The Theatre Experience, 13th edition. In addition, many of the new Think-
ing about Theatre and Experiencing Theatre exercises can also be supplemented and
enhanced with examples from these plays.

Master the Basics

• Parts 2, 3, and 4 cover the important elements of theatre: acting, directing,
playwriting, and design. The authors’ efficient structure and succinct style set
students up for a clear understanding of the basic concepts, freeing up valuable
class time for deeper discussions and more personal engagement with course
concepts.
• Photo Essays and a dynamic art program allow students to visualize the core
theatrical concepts introduced in each chapter. Topics include modern domestic
drama (Chapter 8), forms of comedy (Chapter 8), costumes and masks (Chapter 10),
uses of stage lighting (Chapter 11), and others.

Think Critically and Engage Actively

• NEW “Playing Your Part” is a feature in each chapter that includes two distinct
sets of questions and activities that emphasize thinking and engaging critically.
wiL14276_ch06_120-141.indd• Page 137 18/11/13 4:52
“Experiencing ThPM user-f467
eatre” /203/MH02091/wiL14276_disk1of1/0073514276/wiL14276_pagefiles
activities help students actively to engage with the
concepts of the text. These exercises ask students to undertake activities within
the classroom or to understand how aspects of their everyday lives connect to
core concepts discussed in the text.

PLAYING YOUR PART: EXPERIENCING THEATRE

1. If you were to write a play about your life, what would you choose as your opening scene?
What would some of your complications be? Would there be a climactic moment?
2. If you were to write a play about a family you know (your own or another), what point of view
would you take? Why? Are there strongly opposed forces or balanced forces in this family?
3. If you were told you were going to have to attend a play that lasted over four hours, what
would your reaction be? Why? What are your traditional expectations about the space and
time of a play?
4. After watching a popular film, describe how the opening scene aids in setting the action.
Describe one or two of the complications in the film. Can you discuss the film’s point of view?

Preface xvii
4276_ch06_120-141.indd Page 139 16/11/13 10:40 AM f-479 /203/MH02091/wiL14276_disk1of1/0073514276/wiL14276_pagefiles

• “Thinking about Theatre” questions challenge students to analyze and

examine elements of a theatre experience.

PLAYING YOUR PART: THINKING ABOUT THEATRE

1. Think of a play you have read or seen where the main character encounters one impedi-
ment or roadblock after another. Describe the various obstacles that must be overcome
before the end of the play.
2. Think of a play or musical you have seen or read where two major characters are in conflict
with one another. Describe the two characters and explain the source of their conflict. How
does it play out?
3. Think of a situation some people saw as very serious, but another person viewed as
humorous. Explain what you believe led different people to see it so differently. What was
your own feeling—was the incident funny or sad?

• NEW “In Focus” features include two categories:

• “Global Connections” present the global reach and influences of theatre from
various cultures. Topics include Augusto Boal’s “Theatre of the Oppressed”
(Chapter 1), Asian influences on the playwrights Brecht and Wilder (Chapter 6),
and global influences on Julie Taymor (Chapter 12).
• “Historical Perspectives” features bring relevant topics about the past to life:
women in Greek and Elizabethan theatres, performers’ status at different
points in time, the evolution of the director.
• NEW Marginal Definitions For the first time in The Theatre Experience,
definitions of boldface words or terms in the text are provided in the
adjacent margin.

xviii Preface
Selected Chapter-by-Chapter Changes
Chapter 1 begins with a new section on the great diversity of contemporary theatre,
first in terms of the variety of places in which theatre can be viewed: from the largest
auditoriums or Broadway houses to regional, college, and community theatres, as
well as small, informal spaces, and second, in terms of the extraordinary range of
subject matter as well as ethnic and cultural material. The chapter then turns to the
unique experience of live theatre that differentiates it from all other media. In this
and all subsequent chapters, when a play is mentioned for the first time, it is set in
blue type to signal its inclusion in the new “Play Links” feature. This indicates that
the script of the play can be retrieved by means of a URL, which is provided at the
end of the text.
Chapter 2 retains the core content about audience involvement, including
background information and preparation that makes attending the theatre more
meaningful and enjoyable. The chapter’s coverage of critics and reviewers has been
extensively updated, now including new discussions of bloggers, social media’s impact
on audiences, and audience behavior.
Chapter 3 has a new Dynamics of Drama feature, “Popular Performance Spaces,”
which extends the coverage of venues where live performances take place. Material on
stage spaces has been edited and updated.
Chapter 4 features minor updates to keep the content as current and engaging as
possible. Information on the training, preparation, history, and techniques of acting
have been retained from previous editions.
Chapter 5 expands anew the auteur director and the postmodern director. The
material on the artistic director and managing director of nonprofit theatres has been
revised.
Chapter 6 features a new introductory section on the playwright’s role in the
creation of a script, explaining the playwright’s relationship to ancient storytellers.
Also, information has been added on the context in which the playwright works, the
demands and challenges of developing a script, and the unique requirements of a
work for the stage.
Chapter 8 has been substantially edited and revised. There is a new opening section
on the mood, tone, and point of view of a production that are conveyed to an
audience in the opening moments of a production.
Chapter 12 features a new discussion of recent trends in stage musicals, together with
up-to-date examples.
Chapter 13 features refined listings of playwrights and plays, updated with the latest
names and productions from around the world. Material that was previously in
Chapter 1 has been incorporated into this chapter.

Preface xix
 TEACHING AND LEARNING RESOURCES
Support for Instructors
The Theatre Experience offers a wealth of supplemental materials to aid both students
and instructors. The Online Learning Center at www.mhhe.com/wilsonte13e is a
resource for students and faculty. Instructors’ resources are password-protected and
include:
• Instructor’s Manual.
• Test Bank.
• EZ Test Computerized Test Bank: McGraw-Hill’s EZ Test is a flexible, easy-to-use
electronic testing program that allows instructors to create tests from specific items
in the text. It accommodates a wide range of question types, and instructors may
add their own questions. Multiple versions of the test can be created, and any test
can be exported for use with course management systems. The program is available
for Windows and Macintosh.

Student Resources
The Online Learning Center at www.mhhe.com/wilsonte13e is a robust tool for stu-
dents, providing a wide range of material to enhance learning and to simplify studying.
Resources are keyed directly to this edition and include the following:
• Chapter-by-chapter quizzes for testing students.
• Essay Quizzes that can be e-mailed directly to instructors.
• The Theatre Goer’s Guide is an excellent introduction to the art of attending and
critiquing a play. This guide will assist students in everything from making theatre
reservations and knowing when to applaud to evaluating a performance and doing
web research.
• Detailed explanations and examples of Major Theatrical Forms and Movements.
• Synopses of Plays.
• Select Bibliography.

Craft your teaching resources to match the way you teach! With McGraw-Hill Create,
www.mcgrawhillcreate.com, you can easily rearrange chapters, combine material
from other content sources, and quickly upload content you have written, like your
course syllabus or teaching notes. Find the content you need in Create by searching
through thousands of leading McGraw-Hill textbooks. Arrange your book to fit your
teaching style. Create even allows you to personalize your book’s appearance by select-
ing the cover and adding your name, school, and course information. Order a Create
book and you’ll receive a complimentary print review copy in 3–5 business days or a
complimentary electronic review copy (eComp) via e-mail in about one hour. Go to
www.mcgrawhillcreate.com today and register. Experience how McGraw-Hill Create
empowers you to teach your students your way.

xx Preface
Anthology of Plays
Anthology of Living Theater (978-0-07-351413-0) offers 18 plays for use with The Theatre Experience.

CourseSmart ebook
The Theatre Experience is available as an eTextbook at www.CourseSmart.com. At CourseSmart, students can take
advantage of significant savings off the cost of a print textbook, reduce their impact on the environment, and gain
access to powerful web tools for student learning. You can view CourseSmart eTextbooks online or download
them to a computer. CourseSmart eTextbooks allow students to do full text searches, add highlighting and notes,
and share notes with classmates. Visit www.CourseSmart.com to learn more and try a sample chapter.

ACKNOWLEDGMENTS
First and foremost I wish to thank Professor Alvin Goldfarb for his invaluable contribution to this edition of The
Theatre Experience. My coauthor on Living Theatre and Theatre: The Lively Art, Al’s ideas, his research and writing
skills, his originality and imagination, and his persistence have been indispensible in completing this, perhaps the
most audience-oriented and insightful version of The Theatre Experience of the entire series.
I first developed many of the ideas in this book while teaching a course in Introduction to Theatre at Hunter
College of the City University of New York. To my former students and colleagues at Hunter, I express my con-
tinuing appreciation. Also, to those professors and other experts who have contributed importantly to prior ver-
sions, I express my deep appreciation. They include Alexis Greene, Naomi Stubbs, Susan Tenneriello, Donny
Levit, and Frank Episale. In addition, I express my gratitude to Professor Jeff Entwistle for his prodigious contri-
bution to the chapters on design, and I also thank Professor Laura Pulio for her helpful suggestions on acting. A
special thanks also to Professor Oliver W. Gerland and his fellow teachers at the University of Colorado. I would
also like to thank Professor Scott Walters, University of North Carolina-Asheville, for developing the first teacher
and student study guide materials for Theatre Experience and Professor John Poole, Illinois State University, for
his revisions that are now found on the On Line Learning Center.
James Bell, Grand Valley State University
Scott Boyd, Middle Tennessee State University
Chris Gray, Illinois Central College
Richard Hansen, Middle Tennessee State University
Ethan Krupp, Bloomsburg University of Pennsylvania
Jeannine Russell, Wichita State University
Through twenty-six editions of my three textbooks published by McGraw-Hill, my colleague Inge King, the
incredible photography expert, has discovered every photograph that has appeared in every edition of every text,
including this edition of The Theatre Experience. Inge is amazing as well as being an irreplaceable colleague. As I
pointed out previously, through the years Inge has discovered thousands upon thousands of photographs from
which she has helped select the ones that make up our extraordinary illustration program. There is no way ade-
quately to acknowledge her taste, persistence, abiding loyalty to the project, and her creativity.
At McGraw-Hill I express my gratitude to the following editors:
William Glass Lisa Bruflodt
Sarah Remington Jennifer Pickel
Dawn Groundwater Laurie Janssen
Thomas Sigel Brenda Rolwes
Kelly Odom Jenny Bartell

Preface xxi
This page intentionally left blank
The Theatre Experience
T H I R T E E N T H E D I T I O N
1 The Audience

THE AUDIENCE
The basic encounter in the theatre
is the exchange, the chemistry, the
electricity between the audience
and the actors performing on
stage. The presence of the
audience sets live theatre apart
from all other forms of dramatic
entertainment. Here the audience
is gathered for a production of
Treasure Island at the Colorado
Shakespeare Festival in the Mary
Rippon Outdoor Theatre on the
University of Colorado, Boulder,
campus. (© Steve Mohlenkamp/
stevemohlenkamp.com)

2
Another random document with
no related content on Scribd:
"I'm going to shut you up, if you don't do it yourself," Vicenzo
promised. He secured Ranjit beside Joachim and then started tying
Henry's wrists to the pipe.
"Be careful what you do to the sweeper, Vicenzo," Henry begged.
"Ranjit was telling me how dangerous it is. If anything causes the
velocity to drop, we'll fall on Saturn."
"You think I'm stupid? That's the way with anything in an orbit. The
closer to a planet, the faster you've got to go. Bring the girl, Aziz."

CHAPTER III
Morna struggled and kicked the spacesuits while Vicenzo tied her
next to Henry. Aziz said, "You think there's really a chance of us
fallin'? I'd hate to plop in all that methane."
"No," said Vicenzo. "Old man, where's the control room? We're
moving this whole station with the two ships clamped on."
"Hadn't we oughta put some water in our tanks, in case we gotta
scram quick?" Aziz asked. "They're about empty."
Ranjit chuckled. "You'll have to wait four hours to tank up. I just got
the heater going a while ago. There's an SG ship due in soon. You
better give up."
"You're lying in strings!" Vicenzo said. "You must have fuel for the
sweeper's motors. Where's the control room?"
"I ain't saying."
"He'll tell," Aziz gloated, raising his knife.
"We can find it quicker," Vicenzo said and turned away. Aziz followed
him through the door.
"What?" Joachim muttered. "Where? The gangsters!" He stared
around the compartment and cried, "There is one! Henry is a
gangster! You are also, Ranjit! I have long suspected that the
destruction of the Rings of Saturn could only be the work of
gangsters! No one—Morna! Are you injured?"
"No," Morna blubbered. "Stay away from me, Henry!" One of her
wings of black and yellow hair had fallen over her face.
"Sorry," Henry said, blushing and moving his legs. "I didn't notice
which way I was drifting."
Joachim said, "Where are the other gangsters? Have they gone to
steal my ship? It is rented! The SPRS would never recover if we had
to pay for the ship!"
"Let's figure some way to get loose," Ranjit suggested. "Those
fellows won't find the control room out there. No motors, anyhow, but
all they've got to do is wait till enough fuel melts and use their ship to
move the sweeper. Think how that'd look on my record."
"You said an SG ship would be here in a few minutes," Morna
objected.
"I was just telling them that. There's no ship due for two days."
"You actually told a falsehood?" Morna gasped.
Ranjit said, "When you get to be my age, you'll find you can do lots
of things they didn't teach in school. How'd you clinch up with two
fellows like them, Henry? They're space happy, both of them. Didn't
you have no education?"
"Not much," Henry said. "Me and my parents were shipwrecked in
the Asteroids when I was only ten. Mother tried to teach me Honesty,
and Morality, and all the rest, but it didn't take very well. We were
there eight years before we were picked up. They put me in school,
then, with a bunch of kids. I didn't like it, so I skipped and worked in
the mines on Titan. Then I got mixed up with Vicenzo and Aziz. This
is the first job I've pulled with them."
"At least you changed your mind and tried to stop it," Ranjit said,
tugging at his bonds.
"The snips!" Henry exclaimed. "There's a pair of snips in my side
pocket. Maybe you can reach them, Ranjit, if I—No, they're on the
wrong side. Morna, will you try to get them if I can put my, uh, pocket
next to your hand?"
"Stay away from me," Morna said.
"You've got to." Henry braced his feet against the deck and pushed,
bending his knees as his weightless body flew into the air. He
twisted, and the side of his left leg struck the ceiling. Shoving with his
toe, he forced his contorted body back toward the pipe. "There!" he
grunted. "Can you reach them?"
Morna said, "I don't know. My wrists are tied so tight." Her hand
touched Henry's hip and sent him swinging in the opposite direction.
His legs stopped across Ranjit's chest. The old man lowered his
head and butted Henry back toward Morna.
"Oh, get out of my face!" Morna complained.

Henry lay against the ceiling with his legs bent, his back bowed, and
his left elbow pressed against his lower ribs. Morna's hand fluttered
at his pocket. "I've got—No, it's a screwdriver," she said. "Now, I've
got the snips!"
"Don't drop them," Henry pleaded. He thrust his feet back to the
deck. "Try to cut the line around my wrist. Ow! That's my hand!"
"Be brave!" Morna jeered nervously. "Now it's under the cord. I cut
one!"
Henry twisted his wrist in the loosened cord and pulled his left hand
free. He said, "Thanks. Give me the snips."
Morna said, "Promise to cut me down first. I don't want to be tied
with you loose."
Henry snatched the snips from her and cut the line binding his right
hand. Morna said, "Gangster trick."
"Hurry up, Henry," Ranjit said. "Those fellows will be coming back."
Henry released Ranjit and Joachim. "Cut me loose!" Morna yelled.
"Not so loud," Henry said, freeing her. "Go up in the control room,
Ranjit. You told me you still had flywheel steering. If it won't hurt you,
you can make them think you're decelerating. It'll confuse them, at
least."
"Yeah," Ranjit chuckled, "that's a bright idea. I was about to think of it
myself."
Henry said, "Morna, you go with Ranjit. Joachim, you stay with me,
and we'll waylay them. We'll find something for weapons."
Ranjit pulled the sandwich bunk down on its rods, crouched on the
bunk, and pushed open the overhead hatch. Joachim said, "I do not
intend to engage in a brawl with gangsters. Come, Morna, let us take
our chances in our own ship. We—"
"I hear them out there!" Henry said.
Joachim squeaked, bounded to the bunk, and sprang through the
hatch. "Bet he bumped his head," Ranjit hoped. "Up you go, Morna.
Strap yourself to a couch."
Morna climbed on the bunk and through the hatch. Ranjit followed,
"It's a trick," Morna said. "He'll be alone with his gangster friends."
"There's a set of spanner wrenches right there in the net," Ranjit
said, pointing. "There's a roll of wire over yonder." He closed the
hatch.

Henry raised the bunk back to the ceiling. He fumbled in the

accumulation behind the netting, throwing out a case of canned
beans, a one-volume encyclopedia, a bundle of papers, and a
broken clock. He found the wrenches and selected a large one half a
meter long. He searched again, pulled out a coil of electric cable,
and stuffed it under his belt. Jumping across the compartment, he
clung to the net above the door.
Vicenzo and Aziz had not turned off their loudspeakers. "Nothing but
tanks and ladderchutes," Vicenzo was saying. "There has to be a
control room somewhere."
Aziz said, "Maybe there's another door behind all the junk in there. I'll
get it outta the old man."
As Vicenzo's spacesuited figure appeared below in the doorway,
Henry swung his arm. The spanner clanged against the back of
Vicenzo's helmet. The man tumbled across the compartment into the
netting. The rocket launcher whirled from his hands, struck the
ceiling, and bounced to the deck.
Slashing upward with his knife, Aziz twisted into the compartment.
Henry met the thrust with the spanner and knocked the knife from
the squat man's hand. Aziz bellowed, "Ya greasy cube! I'll squash
ya!"
Aziz swung his gauntleted fist. Henry struck Aziz across the arm with
the spanner, denting the metal of the spacesuit. Vicenzo jerked his
head from a box and roared, "Get him! He busted my skull!"
Henry jumped from the net to the corner beside the desk. The two
men slowly stalked him. Vicenzo had his knife, and Aziz
experimentally flexed his metal-sheathed hands.
"We're going to fix you, Henry," Vicenzo promised. "You're just a little
smarter than you should be."
"He ain't smart atall," Aziz growled. "What for did ya want to turn
cube, Henry? I told ya yer name'd be in ever' yap, if ya stuck with us.
Now, nobody'll know ya when I get done."
Henry debated with himself, trying to decide if the situation justified a
falsehood. He said, "Get away while you can! Ranjit says he'll crash
this sweeper before he'll let you steal it! He's in the control room
now."
Aziz stopped and glanced around. "Ya think he will?" he asked.
"No," Vicenzo said. He circled to Henry's left.
Henry raised the spanner and kept his eyes on Vicenzo's knife. Aziz
moved to Henry's right. The deck seemed to tilt. Henry clutched a
leg of the desk to keep from falling.
Vicenzo and Aziz, waving their arms, leaned at an increasingly acute
angle. Their boots broke from the magnetic deck. They fell slowly,
accelerating at about two meters per second, and dropped into the
netted wall which had become the floor.
Henry dangled below what was now the ceiling. Objects fell from the
net beside him. Tools, machine parts, books, and canned food slowly
showered down on Vicenzo and Aziz, who thrashed and swore in the
growing junk heap.
"We're deceleratin'!" Aziz yelled. "That old man really is gonna kill us!
We'll crash on Saturn!"
"That hatch over the bunk!" Vicenzo said as he tried to stand. "That's
where they went! The control room!" A box of cans emptied over his
helmet.
"We're fallin'!" Aziz yelled. "It's forcin' us to the front of the station!
Let's get out!" He stumbled through the litter toward the airvalve
which was now up one wall.
Vicenzo said, "Look out that window! The stars are streaking! He's
just spinning the sweeper! It's centrifugal force!"
"It's deceleration!" Aziz insisted, jumping at the airvalve. The
dismantled teletype slipped from its clamps and fell on the man's
head. He slid back down the wall.
Beside Henry, the net broke loose. A slow, miscellaneous rain,
including two sandwich bunks and part of a spaceship landing leg,
fell on Vicenzo and Aziz. Henry felt the desk slipping. He dropped on
his feet in the clutter. The desk clattered down beside him.
Stumbling and staggering, Henry reached Vicenzo, who struggled
under a bunk, a plastic packing case, part of a pump, and a bundle
of tubing. Henry took the electric cable from his belt and formed a
loop. He drew the loop tight around Vicenzo's arms. Vicenzo pushed
the case off his legs and tried to stand. Henry flipped the cable
around and around Vicenzo and bound his arms to his sides.
"Get him, Aziz!" Vicenzo called in rage. Henry tied Vicenzo's feet
together and cut off the remaining cable with his snips.
Aziz had grasped the frame of the airvalve and was trying to slide
the door open. Henry selected a battered oxygen tank from the
heap, lifted it in both hands, and hurled it. The missile caught Aziz
across the back of his spacesuit. He fell into the jumbled equipment
on the floor. Quickly, Henry repeated his looping and tying
operations. Then he sat on an empty trunk and tried to slow his rapid
breathing.
"Le'me go, Henry!" Aziz demanded, somewhat dazed. "We're fallin'!"
Henry opened the switch on the spacesuit's loudspeaker.
The bunk in the wall that had been the ceiling unfolded, and Ranjit's
wrinkled face peeped through the exposed hatch. "What a mess!" he
chuckled. "Things wasn't fastened down like they should of been. Of
course, it never needed to be before. I never knowed—"
"How are you standing the gravity?" Henry panted.
"It's just two-tenths G," Ranjit said. "Hang on, and I'll take us back to
no weight. This old sweeper's spinning like a top."
Ranjit's head withdrew. Henry tried to find a handhold in the pile of
material. His feet left the tangle. Accompanied by assorted items,
including the bound figures of Vicenzo and Aziz, he floated in the air.
Twisting, Henry placed his feet on the magnetized deck. Objects
containing steel settled around him. He pulled Vicenzo and Aziz
down, and, as Vicenzo began to curse in ancient terms, silenced his
loudspeaker also.
Joachim appeared clutching his stomach. "I shall wait in my ship for
the fuel," he gagged, dodging a floating chest, "away from this
criminal madhouse!"
Morna and Ranjit dropped into the compartment. Ranjit kicked aside
a crate and said, "Good, Henry. I guess you saved our lives, or mine
anyhow. Those fellows would have passed me beyond if they had
accelerated the sweeper, and you sure kept them from stealing it."
"He did all right for a gangster," said Morna on her way to the door.
"Wait, Morna, please," said Henry. He blushed a bright red. "Won't,
won't I ever see you again?"
"Why would I want to see a gangster again?"
Ranjit said, "He's not much of a gangster, and he changed his mind.
Of course, those two will tell about his part in this, and Joachim's
sure to report it. SG will ship you to Earth, Henry, for Revision, but
that won't be too bad, just a sort of school, and you're good as
Revised already, the way you acted."
Henry looked at Morna. "I'd like to go to Earth," he said.
"Tell you what," Ranjit said. "It'll be three hours before there's enough
fuel for Joachim's ship. Why don't you two go up to the dome and
see the sights, and forget all this? We'll be passing into the Shadow
in about ten minutes, and you'll see one of the prettiest things there
is, Saturn from the dark side. The atmosphere looks like a gold
rainbow above the Rings."
Morna stared at the deck. The corners of her mouth curved upward.
She said, "I'm sorry I slapped you, Henry."
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